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12 Responses to “Rare treats in Carnatic Music #12”

Identified the mela to be Kharaharapriya(22) from approximately the notes. The aalaapana does hug KP phrases. The shruti is 4.5 (F#) which is high for a male and certainly not KVN. That is how far I can go…

Arun, nice one! It was educational for me because I don’t know this raga very well, beyond the popular song you mentioned, which is usually delivered as a bullet train filler anyhow. I, too, narrowed it as far as KHP mela, but no further. I missed the absence of a note in the descent, though I had a nagging feeling something was amiss! 🙂 Thanks, again.

Had heard this raga just once. It was obvious that it was a janya of Kharaharapriya, had the trace of sramati, kapi and wasn’t sure of the corrct raga! This is excellent rendering by Neela mami. Thanks to Sri Arun.
Harini.Arun: Thanks Harini and welcome to my blog!

Arun,
It is interesting how the mind and how individual listening preferences/experiences have an impact on raga-mapping in addition to the scalar-mapping! For example: I know only 5-6 people that perform/know this raga in this manner and out of which one is no more, the other is a vainika and I could arrive at Smt.Neela Ramagopal through the texture of voice and gender! Rudrapriya is a no-brainer for me as it is a clear case of identity by difference and etched in memory as a “Kharaharapriya in denial” ! It is for this reason that I feel ragas such as dilIpakam, manjari, and to an extent even purnasadja have absolutely no melodic identity or basis for existence Of course had the clip been ratipatipriya, I’d have been scratching my head and until you mentioned it ratipatipriya never even crossed my mind!

Arun: For some reason in this alapana, I could not identify as much with kharaharapriya like others. But amba paradEvatE in general – yes. Manjari is way too close. I did listen to a Mallari brothers rendition with kalpanaswaras now – sounded wonderful but then it was mostly kharaharapriya with a slight twist – pun intended!! I guess pUrnaSadjam will always be a shade of ritigowla.

I meant unlike Rudrapriya which is clear even if it is a “identity by difference”, dilIpakam, manjari, and purNasadja do not have a “clearly discernible” melodic identity of their own (atleast to my ears).

Arun,
Thanks for the treat. I do have this recording of Neela Ramgopal and so was familiar with the rAgam. Otherwise, I’d have stopped with ‘kharaharapriya-like’. There were hints of naTa bhairavi initially for me, and then I caught on.

Vidya,
You and your name go together. Kharaharapriya in denial! That’s a good one and Arun’s ‘with a twist’ too:)

I could get the raga, but not the singer! Thanks for the pointer to sangeethapriya. I must say that I recently proposed this raga on rasikas.org as a mela representative of the kharaharapriya group, and that was before reading this discussion!

Incidentally, any information on the composer of Amba Paradevate? There seem to be quite a few songs of this person in the SSP, but no info in the list of composers?